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Dramatization of the Political Story of Apartheid in Nadine Gordimer’S Novels

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Dramatization of the Political Story of Apartheid in Nadine Gordimer’S Novels Journal of English and Literature (JEL) Vol.2, Issue 1 June 2012 12-16 © TJPRC Pvt. Ltd., DRAMATIZATION OF THE POLITICAL STORY OF APARTHEID IN NADINE GORDIMER’S NOVELS P. NAGARAJ Assistant Professor, Department of English and Foreign languages Bharathiar University, Coimbatore ,Tamil Nadu, ABSTRACT In Afrikaans the term ‘apartheid’ means ‘apartness’. This system of racial segregation brought by the Afrikaner National Party in 1948 was the culmination of the intense political situation experienced by South Africa for the last few centuries. The blacks were cornered into ‘homelands’ and left without a choice other than living in their own country like foreigners. Those who did not own a passport were deprived of even the limited liberty to enter the white inhabited area. When the world politics grew sophisticated in the second half of the twentieth century, the persisting savagery in South Africa caught world’s attention. More than historians and media it is the literature from the country that sent the exact colour of the picture across the border. KEYWORDS: Nadine Gordimer, Politics, Novels. Among the revolutionary writers emanated from apartheid, Nadine Gordimer has produced an oeuvre that is observed as an unofficial record of the South African history by her famous critic Stephen Clingman (13). Her literary career runs parallel to the apartheid and post apartheid era and she has nothing to transmit to the world other than the traumatic experiences of individuals under the regime. It is in this aspect she differs and elevates herself from the traditional historians. Hers is not a cold account of the sequence of events of history. She lived right within the society traumatized by the system, resisting the intimidation of the authorities when other writers sought the safety of exile. She still lives in South Africa constantly responding and revolting against racial injustice. According to her, she is a plant conditioned to live in the South African soil (Cooke 533). Gordimer is a self-acknowledged Communist but her works cannot be labeled as purely political. She reveals that there is politics in her novels but not in a didactic fashion. Political discourses appear very rarely except in Burger’s Daughter . Her focus is on how people’s lives and their very personalities are influenced, moulded or even shattered by the extreme political circumstances. She chose the territory where the public and the private merged, and witnessed individuals of flesh and blood executing wild experiments to cop up as well as to liberate themselves from the chains of racio-political boundaries. The history sprang from the depth of individuals’ mind provides the reader a closer picture of the events with more credibility. Gordimer saves herself from being a mere detached observer by the use of autobiographical elements. Paul Rich observes that apartheid sprang from the concept that the western “civilization” has to be protected and promoted against the threat of “Barbarism” of African majority rule (365). In 1950s, from 13 Dramatization of the Political Story of Apartheid in Nadine Gordimer’s Novels the very beginning of apartheid regime, a new idea of multi-racialism surfaced resulting in a social and political opposition of apartheid. Rich refers this multi-racialism as a nonracial “civilization” brought by the liberal whites on the basis of western political and cultural values (365). Gordimer’s first novel The Lying Days contains autobiographical elements of the young writer coming out of the shell of bourgeois complacency with her liberal ideology. There was a new awareness that the blacks and the whites live under the same sky but remain strangers to each other and that it can be countered effectively only through a cross-racial front. Its influence on Gordimer is evident in the creation of her novel The World of Strangers . This new idea had a temporary demise in 1960s which is reflected in An Occasion for Loving . There she had a momentary distraction from the socio-political issues to the existential dilemmas in the very private realm of sensuality and relationships. The 1970s again brought a transition from silence to sabotage on a large scale as expressed by Gordimer through The Late Bourgeois World . The Black Consciousness resulting in Soweto Uprising in 1976 and its aftermaths provided her with enough material to produce one of her classics, Burger’s Daughter . July’s People predicts a bloody revolution bringing an absolute reversal of the social condition; blacks are in power and whites are subdued. The prediction does not materialize but a comparatively peaceful democratic revolution puts an end to the apartheid in 1994. None to Accompany Me is the personalized historical account of the time of transition. The politics and the problems it created did not end with apartheid. The white and black radicals and their violence, and struggle of individuals and institutions to adapt to the world kept her pen restless. The House Gun portrays the aftermaths of the political transition through the eyes of individuals resisting and coping up with the new reality of loss and gain of power. The Pick Up deals with an absolutely different topic of immigration and a white woman’s adaptability in an Arab background. In Gordimer’s last novel Get A Life her attention shifts from politics and cultural conflicts to the environmental issues; an ecologist’s fights against one’s own illness and the installation of a nuclear plant. Each of Gordimer’s novels updates the major events of the period it belongs to, both in history and literature. “We must write for our own time”, says Jean Paul Sartre in his essay titled ‘We Write for Our Own Time’(151). What he meant is not mere passive reflection of the contemporary events but a writing with a will to change or maintain the situation keeping a perspective of the future(151). Gordimer does not suggest any solution to the dark reality presented in her works. She rather presents the intense situations during a violent transition and leaves the questions to be answered by the reader. The transition of South Africa from white rule to black rule did not happen overnight. It has been a decades-long process in which each race gave up a part of them to merge with the other. The native Africans adopted western civilization but without losing their African mind, its values, tastes and sense of colour. Marisa Kgosana of Burger’s Daughter and Sybongile, Didymus and Mpho of None to Accompany Me represent the fusion of African and Western culture and ideologies. Their affiliation with the white philosophy of Communism is for the sake of fighting against white rule and at the same time their sense of fashion fuses the Western cosmetics and the splashy colours of native Africans. Mpho seems to be a British child in black skin initially but later on she surprises the readers by her ability to embrace the life of her forefathers. Simultaneously, the whites had begun to dismiss the idea of racial Nagaraj 14 superiority to accommodate themselves in an African country on the eve of the evanescent white rule. In July’s People the white couple Bam and Moureen Smales escapes a bloody black revolution to the rurality and protection of their black servant July. When Bam is adamant to his liberal white attitude of a teacher and a preacher, Moureen tries to cope up with the new age of subordination by adapting rural black peasant women’s lifestyle. Her attempts to reconcile with the new odour of mud and sweat record the signs of a historical transformation. The white female characters in the later apartheid novels of Gordimer belong to a different generation that has already transformed and is on their sojourn beyond mere liberalism. The protagonist of None to Accompany Me Vera Stark relinquishes everything, even her lover-turned white husband to find her true sensuality, sexuality and finally the heights of true morality in an association with the black. In Gordimer’s post-apartheid novel The Pick Up she goes to the extent of introducing a white protagonist who renounces her entire family, country, race, and religion to live an Arab life for her immigrant lover. The history that evolves through Gordimer’s novels cannot be considered holistic. Closeness brings vividness but proximity beyond limits often results in blindness especially in certain aspects that emerge with completion only when it is viewed from a distance. Her being part of the system and their pattern is a factor that in a way prevents her from producing a panoramic view. She is constantly being moulded by the very system she has to assess, according to Clingman; she is both an ‘observer’ and a ‘participant’, and it is a privilege as well as a confinement (2). Being a white middle class woman the black experience is alien to her. With the help of her liberal humanism, she can only assume how it feels to be a black woman living in filthy shanties, doubly oppressed by the whites as well as the black men. She makes no pretentions of being able to relate to the black experience. The focus on white class in a good number of her novels proves it. However, her white protagonists do not hide themselves inside the cocoon of racial privileges. Whenever they do, as in The Conservationist, there is an unbiased critical voice within the text that unravels them in an unfavourable light. Her political orientation towards Communism also indicates the possibility of an absence of objectivity in her observations. A noncommunist voice is not absolutely wanting in her works but they eventually dissolve into the communist uproars necessitated and stimulated by the anarchical situation.
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